Learned about Shaun Leonardo’s I Can’t Breathe workshops (a 2017 article on Hyperallergic by Seph Rodney). Leonardo’s workshops are in stark contrast to the Police Horse Care & Control workshops we organised with Pietari. Leonardo is teaching people how to survive police chokeholds – We are teaching audiences what it feels like to support the weight of a police officer with your body and to have your body supported by theirs in exchange.
Finnish Cultural Institute in New York published my artist profile on their website.
An artist in Helsinki who’s active on twitter has been writing a critical commentary of art-life, culture institutions and exhibitions for a half a year now. The blog is called Hampaat (teeth) and it’s an interesting albeit a tad cynical source for local art-news and art-thought. The most recent post is called YOUR COLLEAGUES ARE THE PROBLEM. The text feels like it’s very critical towards someone but that person is not identified… Which makes me paranoid (am I part of the problem? *laughs nervously*). The author identifies the figure of the “reputation avatar” (derived from the work of Gloria Origgi, a podcast about her book online) and tries to pinpoint moments were artists work primarily to maintain their reputation. I often engage with work to merely to maintain my reputation (but I don’t think it’s a bad thing).
The criticism of art mirroring our times (as a justification for the lack of critical thought and practice in art) is something I agree with. Elaborate media-artworks which I’ve seen recently (most of which are related to AIs) should be read as blatant celebration of media technology, innovation and capitalism (and not it’s critique). A hammer cannot be critical of a hammer #ॐ. The artist status should not be used as an excuse from ethical concerns: When artist use AIs they have the opportunity to be just as unethical as the übers and googles of the world.
The author is also critical of the recent trend of “melding art with science” and claims that “the situation of art as a site of knowledge is rotten at the core”. I agree to an extent. Artist are sometimes portrayed more pure hearted then they are. There seems to be consensus that artist would use science for the good of people if only given the chance. Which is not true – Artist are not healers. The text also makes me ask that why would anyone want to learn about Barad from an artist who reads Barad (if they can learn from Barad herself)? And to ask that in what circumstances is learning from an artist about Barad (instead of Barad herself) more efficient/better/smarter?
I’ve liked the THREE QUESTIONS TO PEOPLE DOING EXHIBITIONS UNDER CAPITALISM best so far.
Pietari shared a gruesome story from Amsterdam Dutch rewilding experiment sparks backlash as thousands of animals starve. A case-study for understanding the intersections of cross species solidarity and post-humanistic theory.
Horse & Performance III course for the University of Arts Helsinki (Teak) went well. We worked with 10 students and two horses, learning how to care for animals and each others. Students gained elementary skills in reading design trough poststructuralist lenses and how to think with horses. The course lasted for five days. Yesterday students presented their demo-exercises for the group and I learned a lot about horses. Pietari and I concluded the evening by celebrating the course as the pinnacle of posthumanistic artist education.
Pori Art Museum has published a report on the Creative Commons and Art seminar which I participated in with Kimmo and Kalle Kuisma. My talk is recapped on pages 10-12 and I’m very pleased with my contribution. I claimed that “Artists do not contribute to the commons – They claim phenomenons from the commons” (artists taint phenomena and mark it as their own). I also claim that skills are production tool (for artists) and shed light on the ideological origins of Ore.e Refineries (and the COOL 1.0 license).
Working on our Ihme-days presentation with Heini and Leena, packing stuff in preparation of my New York visit, preparing next weeks Horse & Performance course with Pietari and writing a lecture/presentation for expo2001∞ (organised by Daniel Kupferberg) events at Kunstraum Argh15 (I’ll give “An Introduction to Horselogical thinking” over skype or wire). Aaand.. Learning how to make cheesecake.
Flashed Face Distortion Effect is interesting. Wonder if could be reversed: Images of faces would be distorted so that the faces that flash would appear normal.
We manufactured eight Trans-Horse medals from recycled aluminium with Jesse over the weekend. I’ll send five of them to Brussels to honour the participants of the Trans-Horse Parade. The Parade was a part of a series of horse related performances we prepared for Signal #6 Festival / Cifas last Autumn. Casting the aluminium was relatively easy (we succeeded in making one medal in 20minutes!). The horse in the medal is The Awaited Son (A drawing based on the photo can be downloaded from OpenClipArt). I’m really exited to send a medal to the Cavalry department of the General Reserve of the Federal Police of Belgium! Other recipients are horse stables around Brussels and the staff of the Schaerbeek recycling center.
We are preparing the third Horse & Performance course for the Theatre Academy Helsinki with Pietari.
I’m preparing a performance for the Kone foundation Lauttasaari manor spring party with the Neighborizome crew. Repurposing an old Trans-Horse ethical infta text for a small publication I plan to share with my audience.